How far would you go to achieve success? To become part of a cultural and economic elites? To be in the room where it happens? The Dinner Party takes things to a hellish level, as a young married couple endure a particularly strange evening as they pursue success for the husband’s writing career. An atmospheric opening promises well-mounted violence in a decadently urban setting and what follows is a fascinating watch. Awkward social gatherings have born rich fruits in recent years (The Party, The Invitation) whilst the eat-the-rich vibe that runs through proceedings is always compelling.

Early on the film is a tad overwritten and theatrical, with a heavy reliance on monologues, but this gives way to a second half that is sharper and more interesting. The film becomes a lot of fun once things get a bit looser, crazier and more supernatural and it proves a fun genre hoot. Miles Doleac produces, directs, co-writes and stars here, staging the debauchery well. Clifton Hyde’s score pairs nicely with Michael Williams’s cinematography. Scenes are mounted with an effective mix of humour and tension as the audience waits for proceedings to escalate, as promised early on. There is perhaps too much waiting and discussion of the arts for some genre fans. But the film eventually begins to reward viewers eager for a bit more gloop.

There are game turns from the likes of Kamille McCuin, Lindsay Anne Williams (also responsible for the film’s fabulous costumes), Sawandi Wilson and Bill Sage who are clearly having fun during some of the more outlandish moments. Mike Mayhall is suitably pathetic and desperate to please as one half of the married couple enduring this dinner party. But the film’s star, and MVP, is Alli Hart, whose Haley endures much and yet remains a likeable presence throughout. This is a talented ensemble that just about manages to sell some of the film’s more outlandish moments.

The Dinner Party recompenses the patient with some well-mounted violence in its second half. It certainly feels overstretched and you wish there was one less conversation about opera, but you forgive the film this. Sometimes a narrative needs time to get to its end destination (which proves a narrative stretch, but certainly an interesting one). Colour this viewer pleasantly surprised by an effective mounted horror, elevated by a strong ensemble and a technical prowess that manages to hide the indie quality of the film.

Rene Perez is a remarkably prolific figure, having made 23 films in the last 10 years, 3 of which in 2020 alone. Here he acts as writer, editor, cinematographer, and director, so truly Cry Havoc is his joint, a sort-of B-movie auteur work. The film merges two strands of the director’s body of work, with the killer Havoc from the Playing with Dolls series going toe-to-toe with Death Kiss’ Robert Bronzi. It doesn’t really matter if you haven’t seen any of the works (this viewer had not) as the film works fine as a standalone film.

A gory watch that will be a delight to those who can get past the film’s shortcomings, the plot follows a renegade cop and an investigative journalist whose paths merge as they dig into a missing person case and the people using the monstrous presence that is Havoc respectively. Set in and around a secluded compound it merges horror set pieces with action sequences that will make you nostalgic for exploitation-era thrillers. 

Limited budgets are almost a core feature of the horror genre and there are some creative ways Cry Havoc manages to get round this fact. But at other times it is an impediment to what could be an effective take on a modern slasher genre. A muted palette and a feeling that this film is stuck in the same stretch of non-descript woodland make this a mostly dull watch.

Cry Havoc is at times painfully dated (its gender politics would be disagreeable in the 90s), with its throwback quality only hiding so much. You ache for Perez’s film to be a better watch as there is much to admire. Essentially boiling down to a wish fulfilment of Charles Bronson taking on Leatherface, it feels like this could play well to an audience with a healthy diet of 80s schlock. Robert Bronzi is certainly fun in the role of a near-silent force of avenging fury. And the creature design around Havoc is memorable (you can see why he keeps popping up in Perez’s work). But the film surrounding these two is a mostly lacklustre affair, lacking any real punch to leave a lingering impact.

Cry Havoc certainly shows director Perez’s ambition’s scope, forging his own low budget cinematic universe with figures from previous works merging. But what desire there may be for a sprawling set of Havoc films is limited by the technical deficits of this film. Some great character design and effective FX do not make up for a film that really should be better made then this. This is one for schlock completests only.

Wow it's been over a year since I have last reviewed a film in a non-audio format. With the Podcast now established and reaching a year of audio goodness The website is BACK! My first review back....lets just say isn't the best starter to get me back into the throw of things.

Don't Run is the story of a socially awkward boy named Peter (Danny Irizarry - Rink) who is forced to be in bed by sundown when a demonic figure with a face covered in bandages unleashes a night time creature who will attack Peter if he leave the bed during the night. When the creature begins killing people Peter shuts himself away, but can he protect the girl next door from being the next victim.

The film has a pretty good premise, it's different and engaging which would work if the acting on hand wasn't awful.The character of Peter grows more and more annoying as the film goes by while his bully has about as much charisma as a rock. The only character who is even close to likeable is Amy, played by Charlotte Arnold (Men at War) who would fit into an decent young person horror film with out standing out for the wrong reasons.

The scenes of terror work okay, the idea of the creature under the bed being used in a constructive way which is a good a story telling vehicle. When looking at the demons I personally like the look of the visiting  demon and even the look of the beast in the wardrobe, who we get a glimpse of near the conclusion of the film. The end seemed a little clunky, feeling a bit rushed once we finally get to the meat of the action, but overall the film wasn't awful, it has a good story with an 80's feel to it. While Peter is as dull as dish water you can see he being that bullied loner kid who still stands up for himself in an odd way. I would serious just recast the bully kid.

With a better cast this could of been a much better film, however if you like a more low budget horror feel you may feel more at home than I did with this one.